Catherinedemetriou designjournal 641497 by Catherine Demetriou

STUDIO

AIR DESIGN JOURNAL CATHERINE DEMETRIOU 641497

CONTENTS

PART A

PART B

PART C

-INTRODUCTION-

-research field-

-final proposal-

-PRECDENT 1-

(Precedent: dragon skin pavilion)

(BANQ/OFFICE DA)

-creating the frame-

-PRECDENT 2-

-patterning-

(center for ideas/minifie van shaik)

(Precedent: Ashton Raggart McDougall, Portrait building)

-making virtual into a reality-

-TUTORIAL TASK 1-

(Precedent: Spanish pavilion) B3

-patterning-

-DESIGN COMPUTATION-

(iterations) B4

-abstract elevations-

-reverse engineering using patterning-

(iterations) B5

-Fabrication-

-PRECEDENT 3(The Scarcity and Creativity Studio) -TUTORIAL TASK 2A3 -COMPOSITION/GENERATIONA4 -CONCLUSIONA5 -learning outcomesA6 -Algorithmic sketches-

-prototypes B6 design proposal B7 learning outcomes B8 algorithmic sketches

-virtually designing connectionsC5

C7 -modelingC8 -learning outcomes-

Introduction

about me + past experience

Hello!

completing When

something

name

a was that

Bachelor

first I

Catherine

applying

only

slightly

of for

course

considered.

Demetriou Environments after

having

Nevertheless,

and

and finished choosing

third

majoring year

12,

architecture

year in

studying not

student architecture.

architecture

only

study

was but

also as a career path is a decision that I am very sure about, despite the long hours and hard work.

Coming into first year environments, I had practialy no knowledge of computational skills as I had not undertaken visual communication or any design subjects during school. It was for this reason that, when I took virtual environments as a subject, I found it very challenging to come to terms with programs such as Rhino, Autocad and Adobe Creative Suite. Throughout virtual environments, I was primarily taught panelling skills through Rhino and furthermore, my presentation skills improved immensely over the semester. This is something that I carried throughout my second semester of first year and furthermore, the entirety of the second year.

Throughout my third year of majoring in architecture I aim to improve these computational skills that I often find very daunting. I enjoy the fact that studio air forces us to become familiar with Rhino and grasshopper and although it may be a challenge, I know that it will become very useful to know these programs throughout the future.

A.1 BANQ/OFFICE DA precedent 1

For derived

this not

weeks only

precedents, from

interesting

were design

given but

two also

buildings with

the

whose aid

architectural computational

beauty work

was flows.

The first precedent that was provided was BanQ/ Office DA, a restaurant built during 2006-2008 that, today, is known as a restaurant located in Boston USA. The restaurant is renowned for its unusual interior where both the roof and columns, made from a slatted wood system, create the illusion of a “slumping” or “dripping” effect. This system, like any ceiling and roof system structures, is utilised to contain all mechanical, plumbing and lighting systems however does not entirely conceal them with the gaps between the slats exposing all the electrical wiring (1).

It is through the expertise of digital imaging, however, that has granted this roofing system with its organic and free-flowing nature. This is ultimately due to the experience of architect Nader Tehrani who found inspiration while travelling through the Netherlands Schiphol airport where the buildings slatted ceiling exposes yet filters the mechanical systems of the roof in a very intriguing way (2). Tehrani, pushing for the digital revolution within the architectural industry, designed the ceiling system using geometries that enabled the wood slats to not only conform to the equipment above but also to create a somewhat adjoining relationship between each material in order to create a unified effect.

I believe that this building has been continually appreciated as it seemingly takes a different approach to design as it is one that granted its users freedom with its large rooms and open space, however, still encapsulates the idea of good design.

(1)Photos by: John Horner

A.1 centre for ideas/minifie van shaik precedent 2f

The Centre for ideas by Minfie Van Schaik Architects was the second precedent provided for week one of studio air. The centre was built as an extension of Melbourne Universityâ&#x20AC;&#x2122;s Victorian College of the Arts and was built in 2001 (2). The building itself is one that has in fact been the cause of debate concerning the future of architectural design as it is was one of few of its time that was designed using digital fabrication. Minfie Van Schaik Architects designed the building based on the algorithmic development of â&#x20AC;&#x153;vornoi diagramsâ&#x20AC;? which essentially partitons planes into various areas based on specific distances to different points. The building itselsf is realised in a stainless steel and aims to convey a sense of movement not only in the real world but also in the virtual. It is this relationship with movement that I believe sets the building a part from many within Melbourne city. The combination of the stainless steel and the geometric shapes allows light to reflect differently from varying angles. Furthermore, each side of the building has been created to be physically and aesthetically different, thus creating a sense of movement and keeping users intruiged as they orientate themselves around the building (2).

(2)Photos by: Derek Swalell

A.2 design computation

Over decades, the presence of technology has changed the way in which we live our lives and altered the face of society in numerous ways. For the architectural world, technology or , design computation, has seemingly granted designers and architects an innovative and creative freedom that was not once present throughout earlier years. For many within the design world, the presence of digital design has seemed to not only provide a sense of efficiency during the design process but has also, according to Kalay Yehundas “Architecture’s New Media”, given architects the chance to identify and frame problems in a way that will always lead to a reachable solution. It this sense, the computational presence within the architectural world forces designers to become familiar and somewhat rely on algorithmic patterns and geometries (3). This is evidently seen throughout the making of Toyo Ito’s “Serpentine Pavilion” where the base design of the pavilion was based on the algorithm of a cube that was expanded in shape as users rotated around it. However, although design computation is widely utilised and accepted, its precense is still widely debated throughout the architectural world. As discussed within Yehundas reading, many believe that while it is easy for humans to communicate with computers, the ability for computers to communicate to humans is virtually impossible- thus blocking the creative process. Furthermore, while digital design is somewhat aimed to solve problems, it cannot deal with externally imposed constraints that architects may face later in the design process (4). Nevertheless, for younger generations and students such as myself, I believe that the presence of digital design provides opportunities that were not once provided throughout previous years. It gives us he chance to physically envision our designs from a three-dimensional perspective which in my opinion, grants both designers and architects a sense of realism during the processes of their design.

(4)Photos by: Sylvain Deleu

A.2 the scarcity and creativity studio precedent 3

For this weekâ&#x20AC;&#x2122;s algorithmic task, my tutor provided us with the challenge of becoming familiar with the movement of the area and this could vary from the movement of the surrounding community or even the movement of the natural and unnatural environment around the area. It was for this reason, that for this weeks precedent I chose a project constructed by Scarcity and Creativity Studios, that focused heavily on the movement and patterns of its surrounding environment. The project itself is located on a sandy dunal landscape, located on the coast of Ritpque in Chile. Within the project there are two main areas: Hospederia de Las Alas (a bird observation shelter situated on the top of a dune that faces a bird sancutary) and Las Piedras del Cielo (a commmunity area that contains a small kitchen for preparation of food). Of the two structures, I found Las Piedras del Cielo the most aesthetically and structurally interesting as it was logistically designed in order to cope with the harsh weather conditions of coastal Chile. Due to the North Atlantic weather, local architecture is often severely effected and was thus, heavily considered during the design process of the structure. This is primarily seen in the making of the deck surrounding the project that is not permanently fixated to the substructure of the pier so panels that may be removed by coastal waves can be simply replaced (5). Furthermore, the canopy of the building was designed withstand loads that derive from earthquakes and wind by utilising a series of different knots tied using ropes and it is this sequence of knots used in the ropes can also been seen as a non-digital way of creating an algorithm (5). While the materiality and the texture of the structure stands out from its surroundings, the tones and materials that are somewhat natural and do not deter from the beauty of the landscape. This is something I strive to do in Merri Creek.

(5)Photos by: Scarcity and Creativity Studio

A.3 Composition/Generation

The coming of didgital computaion within design has changed the face of architecture immensely over numerous decades. Throughout our modern day society, architecture has slowly transformed from a physical drawing based profession to one that uses digital computation as a virtual drawing and designing board that essentially increases the physical qualities of design in terms of precisian, efficiency and even scale. This is seen within large scale projects such as the Foster and Parteners International Airport in Beijing. With the aid of digital design the airport extends for more than 3km and covers over 735 000 square meters. Throughout the reading â&#x20AC;&#x153;The building of algorithmic thoughtâ&#x20AC;? it states that this relationship between digital technology and architecture has seemingly increased knowledge of designers as the computer themselves have more knowledge than the computers themselves (6). However is this necessarily true? I am not one to believe that computers or machines have more intellect than humans as they are merely taught a series of rules yet I do believe their presence has enhanced the a different sort of knowledge within architects. For example, we no longer need to rely on the skill of hand drawings however, now, we must rely on computational skills. It has created a new genre of architecture where organic forms have become more and more organic and abstract as parametric modelling infiltrates into society. For example, the Khan entertainment centre utilised parametric modelling to create an algorithm that defined the shape and structure of the building. Without the presence of digital computation the shape of the Centre would vary immensely.

(6)

A.4 Conclusion

Although Part A of Studio Air proved to be quite challenging, my grasshopper and general design computational skills have improved immensely over this three week period. While this period of working on Grasshopper has not been one that particularly relates to the concepts related to my future design, it has still enabled me to become familiar with the site and at the same time, somewhat begin protoyping for the project to come. This understanding has therefore, allowed me to recognise that the contrast between the urban and natural life is something that I would like to heavily focus on throughout the rest of studio Air. However, instead of assessing the ways in which urbanity may negatively impact the area I will assess the ways in which it compliments the area and how it has completely altered the atmosphere of the trail in a positive manner. This is something I intend on showing throughout both my design process and my final design.

A.5 Learning Outcomes

Before having started Studio air, my experiences with digital design was very limited. Although I had spent a semester using Rhino for Virtual Environments, I had no knowledge of grasshopper and the ways in which it worked. However, as I started watching tutorials and actually undergoing some parametric tasks I began to realise the benefits of utilising grasshopper as a modelling tool. While Rhino may technically be more simple, when modelling something more complex it does not have much efficiency and it makes the experience alot more tedious. Furthermore, I find that when modelling using Grasshopper, it is geometrically specific in terms of dimensions. As i develop my skills in Grasshopper, I aim to create something that is not only complex in script and design but also something that may enhance the area of Merri Creek.

A . tutorial task

For this weeks tasks our tutor assigned us the task of three dimensionally creating a bench that may be placed within Merri Creek using Rhino and Grasshopper. Even after the tutorials, I found the task very challenging as it was very difficult to get my head around the new software, Although my tutor was very flexible in what he wanted with the task, he requested that we used the concept of â&#x20AC;&#x153;loftingâ&#x20AC;? in Grasshopper where various lines become one entire surface. I began the task by creating curves in Rhino and then in Grasshopper, extruding them to different heights using the slider tool, then lofted the objects and this turned what I wanted to be a feature wall that would sit behind the bench. For the bench itself I conducted the same process, however, this time I put a cap on the top of the two extruded lines in order to create the seat for the bench.

A. tutorial task

For this weeks tasks our tutor assigned us the task of creating a sculpture that would provide or change the movement around the Merri Creek area. I primarily began this task by trying to understand the area itself. For example I began identifying things such as: - The users - Climate - Topography - Natural Environment

After assessing these aspects of the area I decided I wanted my sculpture to be something that would not only change the movement of the users but I also wanted it to be something they could explore through. The main component of this weeks three dimensional task was to be able to use the â&#x20AC;&#x153;Meshâ&#x20AC;? command and with the aid of the online tutorials, I created a sculpture that took the form of an organic spiral, the spiral was designed with the intention that users could move around and explore through its interior. However, I realised that this did not meet the requirement of creating a mesh surface. I then began creating another sculpture that, unlike the spiral, was of a more horizontal manner but at the same time induced a more complex pattern. Like the spiral, the sculpture was made for users to walk through it as they walked through Merri Creek.

B.1 Research Field

After much deliberation and research, I decided that for the rest of Studio air I wanted my project to focus on the research field of “Patterning”. After having looked up in research resources, I was drawn to the lecture given by Philip Ball that focused on Nature’s Spontaneous Patterns and how they may be utilised in architecture. Although it was all very scientific it made me realise that like the algorithms that we use in Grasshopper and Rhino, nature’s patterns also carry their own algorithms. For example, the bees hive is created from a series of hexagonal shapes and the reason for this is because the hexagon is a shape that utilises the least amount of cell wall and therefore, the least amount of wax and produce. I then began looking into Dragon Skin Pavilion by Emmi Keskisarja, Pekka Tynkkynen and LEAD. The Dragon Skin Pavilion was inspired by the motion of “Pourous Skin” and the ways in which light may go through such an element. Using digital the art of digital fabrications, the designers created an organic pavilion whose skin was something they thought looked like dragon skin. With the aid of a 3D model generator, they were able to put together a montage of components, each numbered and labelled to be put together and dismantled. I then began using this as an inspiration for something that I may use for my future design within Studio Air. The shell of my pet turtle has always been something that has fascinated me as it has a series of pentagonal shapes that, in essence, form one entire circular shape. The formation of these shapes and the shell in general is something I would like to research and possibly use the outcomes of this research as inspiration for my design.

(7)Photos by: hyperbody

B.2 Patterning

This weeks task required us to choose various precedents that utilised the research field of patterning and furthermore, both understand how they used grasshopper to create these patterns and explore how they can be altered. I began by exploring the “Ashton Raggart McDougall, Portrait building”. This building is a 23 storey residential tower that was designed with a portrait of an indigenous leader, William Barak. This portait will be built by changing the shapes of certain balconies in order to outline the features of the face itself. On grasshopper, As predicted, the script for grasshopper focuses primarily on whatever image is inserted in the centre of the algorithms. I decided to begin altering the pattern by inserting my own image to the script which was a simple silhouette of a man walking. I then decided to connect this image into the two data components which essentially created the image of the silhouette on the facade. I then began playing around with other components, I changed the direction of the vector planes while also experimenting with different numbers on the slider. Although this was a good learning experience, aesthetically, it was not something that interested me. I then chose to experiment with Foreign Office Architects “Spanish Pavilion”. I found this design amiable as i found that although its physical shape was simple, the patterning itself was rather complex. I mainly experimented with the script of the spanish pavilion by using of methods of extrusion and lofting. I however found that my iterations started to gain some substance when i began using sliders to alter the shapes of the hexagons and furthermore, adding the “pipe” component into the script. This brought the pattern from a two dimensional figure into a three dimensional figure.

(8)Photos by: zenith schamburg alvisse

(9)Photos by: RIBA

B.2 iterations/ patterning ITERATION 1 changing the image on script creates varying shapes and shadows on the surface

ITERATION 2 subtract command inverses image

B.2 iterations/ patterning ITERATION 3 reduction of sliders connected to xy unit components

ITERATION 4 alteration of numbers on sliders

ITERATION 5 alteration of numbers on sliders

B.2 iterations/ patterning

ITERATION 6 addition of geometry command connected to the move command

ITERATION 7 addition of geometry command connected to the move command. Movement of slider connected to movement command

ITERATION 8 movement command

B.2 iterations/ patterning

ITERATION 9 expanding point boundaries

ITERATION 10 changing point boundaries using slider

ITERATION 11 altering shape of hexagon using hexagon and adding extrusion command, the command was not successful however coloured the shapes

B.2 iterations/ patterning

ITERATION 12 Alteration of sliders connected to Hexagonal command

ITERATION 13 Addition of pipe command at the end of scrip

ITERATION 14 Alteration of “Hexagonal” command to “square” command, pipe command added to end of script

B.2 iterations/ patterning

ITERATION 15 re-addition of hexagonal command, re-addition of extrude command and pipe command at end of script

ITERATION 16 re-addition of hexagonal command, dimensions of hexagon altered using panelling in order to make a more even shape

B.3 Spanish Pavilon, Foreign Office Architects 2005

The Spanish Pavilion was built for the 2005 World Exposition in Japan. Architects were given a blank canvas that came in the form of a standardised box and were given the responsibility to design interior environments and the exterior facades. The Pavilion was designed to encompass impressions of Jewish-Christian cultures and the islamic influence which is both evident in spanish architecture. The pavilion was organised around a large central space that were connected by seven theme exhibition areas that lead onto naves and chapels of the cathedral. The lattice consisted of six different tiles that was based in a hexagonal grid (that is often present in gothic and islamic tracery) that was coded with colour that represented the six different variations of the national flagreflecting the colour of wine, roses, the blood of bullfights, sun and sand.

It was after watching the “Patterning” online tutorial that i was able construct a script that looked somewhat similar to that of the spanish pavilion itself. I began with the same “blank canvas” as the Foreign office architects were given, a simple box. I did this utilising the rectangle component and changing the size of the box using different sliders. Like the real pavilion itself. I wanted to create a facade of hexagonal patterns, none of which were identical in shape and I thought the easiest way to complete this was through using c sharp component.

My script differentiates to that of the original in that the designers were more specific in the general dimensions of their hexagons. By utilising the “Hexagonal” component they were able to give particular dimensions. By using the XYZ Vector component they were able to alter the shapes of the hexagons to the shape that they desired.